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'The Notebook" cuts between the same couple at two seasons in their lives. We see them in the urgency of young romance, and then we see them as old people, she disappearing into the shadows of Alzheimer's, he steadfast in his love. It is his custom every day to read to her from a notebook that tells the story of how they met and fell in love and faced obstacles to their happiness. Sometimes, he says, if only for a few minutes, the clouds part and she is able to remember who he is and who the story is about.

We all wish Alzheimer's could permit such moments. For a time, in the earlier stages of the disease, it does. But when the curtain comes down, there is never another act and the play is over. "The Notebook" is a sentimental fantasy, but such fantasies are not harmful; we tell ourselves stories every day, to make life more bearable. The reason we cried during " Terms of Endearment " was not because the mother was dying, but because she was given the opportunity for a dignified and lucid parting with her children. In life it is more likely to be pain, drugs, regret and despair.

The lovers are named Allie Nelson and Noah Calhoun, known as Duke. As old people they're played by Gena Rowlands and James Garner . As young people, by Rachel McAdams and Ryan Gosling . The performances are suited to the material, respecting the passion at the beginning and the sentiment at the end, but not pushing too hard; there is even a time when young Noah tells Allie, "I don't see how it's gonna work," and means it, and a time when Allie gets engaged to another man.

She's a rich kid, summering at the family's mansion in North Carolina. He's a local kid who works at the sawmill but is smart and poetic. Her parents are snobs. His father ( Sam Shepard ) is centered and supportive. Noah loves her the moment he sees her, and actually hangs by his hands from a bar on a Ferris wheel until she agrees to go out with him. Her parents are direct: "He's trash. He's not for you." One day her mother ( Joan Allen ) shows her a local working man, who looks hard-used by life, and tells Allie that 25 years ago she was in love with him. Allie thinks her parents do not love each other, but her mother insists they do; still, Allen is such a precise actress that she is able to introduce the quietest note of regret into the scene.

The movie is based on a novel by Nicholas Sparks , whose books inspired "Message in a Bottle" (1999), unloved by me, and " A Walk to Remember " (2002), which was so sweet and positive it persuaded me (as did Mandy Moore as its star). Now here is a story that could have been a tearjerker, but -- no, wait, it is a tearjerker, it's just that it's a good one. The director is Nick Cassavetes , son of Gena Rowlands and John Cassavetes , and perhaps his instinctive feeling for his mother helped him find the way past soap opera in the direction of truth.

Ryan Gosling has already been identified as one of the best actors of his generation, although usually in more hard-edged material. Rachel McAdams, who just a few months ago was the bitchy high school queen in " Mean Girls ," here shows such beauty and clarity that we realize once again how actors are blessed by good material. As for Gena Rowlands and James Garner: They are completely at ease in their roles, never striving for effect, never wanting us to be sure we get the message. Garner is an actor so confident and sure that he makes the difficult look easy, and loses credit for his skill. Consider how simply and sincerely he tells their children: "Look, guys, that's my sweetheart in there." Rowlands, best-known for high-strung, even manic characters, especially in films by her late husband, here finds a quiet vulnerability that is luminous.

The photography by Robert Fraisse is striking in its rich, saturated effects, from sea birds at sunset to a dilapidated mansion by candlelight to the texture of Southern summer streets. It makes the story seem more idealized; certainly the retirement home at the end seems more of heaven than of earth.

And the old mansion is underlined, too, first in its decay and then in its rebirth; young Noah is convinced that if he makes good on his promise to rebuild it for Allie, she will come to live in it with him, and paint in the studio he has made for her. ("Noah had gone a little mad," the notebook says.) That she is engaged to marry another shakes him but doesn't discourage him.

We have recently read much about Alzheimer's because of the death of Ronald Reagan. His daughter Patti Davis reported that just before he died, the former president opened his eyes and gazed steadily into those of Nancy, and there was no doubt that he recognized her.

Well, it's nice to think so. Nice to believe the window can open once more before closing forever.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film Credits

The Notebook (2004)

Rated PG-13 for some sexuality

123 minutes

Rachel McAdams as Young Allie Nelson

Joan Allen as Allie's Mother

Heather Wahlquist as Sara Tuffington

Gena Rowlands as Allie Nelson

James Garner as Noah Calhoun

Ryan Gosling as Young Noah Calhoun

Sylvia Jefferies as Rosemary

Nancy De Mayo as Mary Allen Calhoun

Directed by

• Nick Cassavetes
• Jeremy Leven

Based on the novel by

• Nicholas Sparks

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The Notebook Reviews

The Notebook is one of those movies that is so sad, you could break out into tears just thinking about it.

Full Review | Oct 23, 2023

A tearjerker? It'll make you cry but it's not manipulative. A chick flick? It's just an inspiring love story that will touch your heart and make you believe true love can last a lifetime and conquer all. Isn't that what we all want?

Full Review | Original Score: 4/5 | Apr 21, 2023

There is always cinema room for the unabashed tearjerker, & THE N delivers on that "note." Any film that has Gena Rowlands in it will at least shine when she is on the screen & this was no exception. David Thornton with a handlebar mustache ... exquisite!

Full Review | Original Score: 3.5/5 | Feb 25, 2023

Though torn between two storylines, one of which vastly outshines the other, "The Notebook" is still an impressive production.

Full Review | Original Score: 8/10 | Nov 7, 2020

Intelligently adapted and written by Jan Sardi, this is the tear-jerker of the summer. A chick flick? Yes. Classic Hollywood romance? Yes. Will it touch your heart? Without a doubt...

Full Review | Nov 13, 2019

James Garner and Gena Rowlands lend the story a graceful gravity that perhaps the rest of the film's more simplistic romanticism doesn't deserve.

Full Review | Original Score: 2/5 | Oct 31, 2019

Never quite escapes the been-there-done-that feeling of Hollywood romantic cliché with sunny photography and perfectly tailored costumes to boot.

Full Review | Original Score: 2/4 | Jun 5, 2019

Frank Capra would be proud of the way Nick Cassavetes pulls at the heart strings... Have tissues at the ready.

Full Review | Original Score: 3/5 | Apr 18, 2019

The Notebook is a ghastly piece of oldie slush which is tediously orchestrated by Nick Cassavetes.

Full Review | Feb 2, 2019

The Notebook is the kind of syrupy, heightened melodrama more likely to be found in the pages of a Mills & Boon paperback than on the silver screen.

Full Review | Original Score: 2.5/5 | Feb 2, 2019

In a romance where paradise is a duck-filled pond, it helps to be mild-mannered.

Dentistry in the Renaissance could not have been more painful than watching this.

Full Review | Original Score: 1/5 | Feb 2, 2019

The Notebook is premium romantic schlock and confirms director Nick Cassavetes (Rowlands' son) as a specialist in the genre after John Q in 2002.

Two good, young performers and a couple of not-too-shabby older ones not only make The Notebook worth watching but distinguish the film as one of the year's more pleasant surprises.

Full Review | Original Score: 4/5 | Feb 2, 2019

The Notebook is a thoroughly old-fashioned romantic melodrama awash with misty-eyed sentiment as it charts the obstacles placed in the path of two young lovers from opposite sides of the social divide.

A shameless tear-jerker and as corny as they come, this retro romantic drama skilfully pushes all the right emotional buttons.

Full Review | Original Score: 3/5 | Feb 2, 2019

A honey-dipped love story with a surprisingly tart aftertaste, The Notebook is a better-than-you'd-expect adaptation of Nicholas Sparks's bestselling novel of the same name.

A story about true love that makes you cry, the kind you don't forget. [Full Review in Spanish]

Full Review | Original Score: 8.5/10 | Feb 2, 2019

What saves Notebook, or at least lifts it above itself, are the hints of hard-won grit that both Gosling and Garner inject into their characters.

Sure, The Notebook's story of first love tends toward the histrionic and self-important. But if that's case, perhaps Cassavetes, like Shakespeare, simply knows how to give the people what they want.

Full Review | Feb 7, 2018

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The notebook.

• Common Sense Says
• Parents Say 34 Reviews
• Kids Say 108 Reviews

Common Sense Media Review

By Nell Minow , based on child development research. How do we rate?

More sex than you'd expect for a syrupy romance.

Parents Need to Know

Parents need to know that The Notebook is a World War II-era romantic drama film directed by Nick Cassavetes and based on the 1996 novel of the same name by Nicholas Sparks. Scenes include passionate kissing and a fairly graphic lovemaking scene (though only shoulders and a side breast are shown). Characters…

Why Age 14+?

Steamy passion between the two young lovers. Lots of making out and heavy pettin

A 17-year-old smokes a cigar. Adults drink cocktails, wine, champagne, and beer.

Noah and Finn are engaged in active duty during World War II. There's a bomb rai

Words/phrases used include "damn," "crap," "goddammit," "son of a bitch," and "p

Any Positive Content?

The movie's ultimate message is that true love conquers all. But there are also

Predominantly White cast, with most Black characters shown in stereotypical role

Though it's romantic to watch characters fall in love so wholly and stay devoted

Sex, Romance & Nudity

Steamy passion between the two young lovers. Lots of making out and heavy petting. Characters undress in front of each other (only their shoulders are shown). A fairly graphic lovemaking scene (again, just shoulders visible, plus a brief glimpse of breast from the side).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

A 17-year-old smokes a cigar. Adults drink cocktails, wine, champagne, and beer. Noah goes on a 10-day drinking binge. Characters drink in excess to ease pain or to lessen their inhibitions. Most meals are accompanied by alcohol.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Violence & Scariness

Noah and Finn are engaged in active duty during World War II. There's a bomb raid that incurs heavy losses. Allie nurses soldiers who've lost limbs. Noah stalks and pursues Allie; she repeatedly refuses him and says no, but he threatens self-harm until she consents to a date. Noah and Allie fight passionately—in multiple scenes, she hits and slaps him. Poignant deaths.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Words/phrases used include "damn," "crap," "goddammit," "son of a bitch," and "pain in the ass." The slur "darn squaw" is heard in a movie theater.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Positive Messages

The movie's ultimate message is that true love conquers all. But there are also less-positive takeaways and stereotypes; see more in Diverse Representations.

Diverse Representations

Predominantly White cast, with most Black characters shown in stereotypical roles (e.g., maid in a wealthy household, caretakers, entertainers). Neutral depictions also include Black couples dancing alongside White couples in a 1940s social club. Socioeconomic disparities are frequently highlighted between the working class (called "poor" and "trash") and the privileged (called "rich"). A movie theater scene shows a non-Native character in redface, and the phrase "darn squaw" can be heard.

Did we miss something on diversity? Suggest an update.

Positive Role Models

Though it's romantic to watch characters fall in love so wholly and stay devoted to each other, some of the choices that the lovers make—like cheating on a relationship, resorting to domestic violence, and lying to family members—don't qualify as role model behavior.

Parents need to know that The Notebook is a World War II-era romantic drama film directed by Nick Cassavetes and based on the 1996 novel of the same name by Nicholas Sparks. Scenes include passionate kissing and a fairly graphic lovemaking scene (though only shoulders and a side breast are shown). Characters drink and smoke; there's also brief battle violence and poignant deaths. Language includes "damn," "son of a bitch," "ass," and the slur "squaw." Iffy messages around romance include the portrayals of stalking, coercion, and domestic violence as simply "passion." The cast is predominantly White, while Black supporting characters fall into various clich és (e.g., a maid). To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Parent and Kid Reviews

• Parents say (34)
• Kids say (108)

Based on 34 parent reviews

Enjoyed the movie; should be rated R.

How's nobody talking about the toxic relationships in this, what's the story.

THE NOTEBOOK is a story about a 1940s summer romance between Allie ( Rachel McAdams ), the daughter of wealthy parents, and Noah ( Ryan Gosling ), a working-class boy. They're crazy about each other, but her parents disapprove. When Allie goes to college, Noah writes to her every day, but Allie's mother ( Joan Allen ) withholds his letters. Believing neither have wanted to stay in touch, Allie and Noah go their separate ways as World War II ensues. When newly engaged Allie returns to their small town and sees Noah again, they soon realize their romance is far from over.

Is It Any Good?

In this sweeping drama, the details and dialogue are a bit clumsy, but romantics likely won't care. McAdams and Gosling are talented actors of their generation. James Garner , Gena Rowlands , Sam Shepard (as Noah's father), and Allen (as Allie's mother) also give the material more than it deserves, and director Nick Cassavetes clearly wants this film to be a love letter to Rowlands, his mother, who's luminous in this film. In the end, Noah's enduring love for Allie wins hearts.

Talk to Your Kids About ...

Families can talk about how The Notebook depicts love and romance. Is this what a relationship is "supposed" to be like? Why, or why not?

How does the movie treat sex ? What are the real-life impacts and consequences of sexual activity?

How do we know who we're meant to be with? Who should we listen to as we think about making that choice?

Movie Details

• In theaters : June 25, 2004
• On DVD or streaming : February 7, 2005
• Cast : James Garner , Rachel McAdams , Ryan Gosling
• Director : Nick Cassavetes
• Inclusion Information : Female actors
• Studio : New Line
• Genre : Romance
• Run time : 124 minutes
• MPAA rating : PG-13
• MPAA explanation : some sexuality
• Last updated : August 7, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

What to watch next.

A Walk to Remember

Love Actually

Romance movies, drama movies that tug at the heartstrings.

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• DVD & Streaming

The Notebook

• Drama , Romance

Content Caution

In Theaters

• Rachel McAdams as young Allie Hamilton; Ryan Gosling as young Noah Calhoun; Gena Rowlands as elderly Allie; James Garner as elderly Noah; Joan Allen as Anne Hamilton; David Thornton as John Hamilton; James Marsden as Lon; Sam Shepard as Frank Calhoun; Kevin Connolly as Fin

Home Release Date

• Nick Cassavetes

Distributor

• New Line Cinema

Movie Review

I am nothing special, of this I am sure. I am a common man with common thoughts and I’ve led a common life. There are no monuments dedicated to me and my name will soon be forgotten, but I’ve loved another with all my heart and soul, and to me, this has always been enough.

So opens The Notebook against the backdrop of a spectacular sunset over a lake, grabbing our hearts and never letting go as the extraordinary love story of Allie and Noah unfolds.

It begins at the end. Every day his failing health allows, an octogenarian shuffles down the corridors of a nursing home and enters an old woman’s room. Her mind is riddled by Alzheimer’s disease, but as the man reads from the handwritten pages of a worn notebook, science is defied and her memory is sparked by the timeless story of their love. …

The chronicle he reads begins one summer in 1930s North Carolina. Poor country boy Noah Calhoun meets rich city girl Allie Hamilton and is instantly attracted. Soon the two are inseparable, spending every waking moment together. He shows her how to have good ol’ country-style fun; she invites him into her world of fine arts and garden parties. By the end of the summer the teen soul mates have given their hearts, and most of their purity, to each other.

There’s just one problem: Allie’s parents have her future all planned out, and Noah doesn’t fit the picture of the wealthy, blue-blooded husband they have in mind for her. So without giving the young lovers a chance to even say goodbye, Mrs. Hamilton packs her little girl off to a fancy women’s college. Noah writes to Allie every day for a year, but never receives a reply. Unaware of parental deception, Allie and Noah are each devastated at the perceived abandonment by the other. They slowly rebuild their lives apart, haunted by memories of their first love.

Noah survives a stint in Patton’s third army during WWII, then returns to buy and restore his dream home, all the while fighting off Allie’s ghost. Allie gets an art degree and becomes a volunteer army nurse before settling down to the life her parents dreamed of. But why does she see Noah’s face while accepting the rich and handsome Lon’s proposal? When all hope seems lost, “fate” intervenes and they’re given a second chance at love.

Positive Elements

Noah’s dad models selflessness and generosity of spirit to his son. He teaches him to build a relationship one memory at a time by sharing life’s simple joys like fishing and eating pancakes at midnight. He also instills in his young son a love of poetry by having him repeatedly recite Walt Whitman to overcome a speech impediment. Noah’s love of the written word is embraced by Allie, and their shared passion for expressing their feelings in writing becomes the life support of their relationship. (In today’s high-tech world, it’s refreshing to find a story that upholds the power of the written word.)

Mrs. Hamilton redeems her broken relationship with her daughter by returning Noah’s letters at a critical moment and sharing a story from her own youth that helps Allie choose what path she will take. Noah’s example of placing his wife before all others is an inspiration to a generation taught to put their own needs first. He also makes it clear that love is hard, everyday work, and that squabbles don’t have to undo it. Ultimately, he gives up his beloved home and personal life to reside in a separate wing at her nursing home, not for health reasons, but to allow himself constant access to Allie.

Another poignant lesson here is that all human life has value. The elderly and mentally disabled still have much to offer and are not ready to be cast by society into the invisible realm of shadow people. This is reflected not only in the relationship between the aging Allie and Noah, but also in the compassionate treatment they receive from nursing home attendants who come up with creative ways to accommodate patients’ emotional and physical needs.

Spiritual Elements

The narrator, commenting on the doctor’s prognosis of Allie’s dementia, says, “Science only comes so far and then comes God.” He also speaks of the “miracle” of love. While Allie and Noah never discuss spiritual matters (except for lighthearted banter about being a bird in some past life), their love matures into the embodiment of God’s ideal expressed in 1 Corinthians 13.

Sexual Content

Author Nicholas Sparks told ChristianityToday.com that he believed his stories (most notably A Walk to Remember ) resonated with Christians because, “I have certain moral parameters that I do not cross in writing; I don’t write about adultery or kids having premarital sex.” His book The Notebook mentions (briefly) that the teenage Noah and Allie “both lost their virginity.” This movie, however, translates those four words into an onscreen romp that’ll leave families squirming uncomfortably in their seats. After exchanging promises, Noah and Allie shed their clothes one piece at a time, then engage in totally nude foreplay. (Calculated positioning of arms, legs and the camera, along with the low light, obscures both bodies’ most “delicate” parts.) Allie’s remaining virtue is rescued (and moviegoers’ along with her) when Noah’s best friend barges in and tells them Allie’s folks have the cops out looking for them.

Years later the now-adult couple’s second tryst, and actual consummation of their passions (an event written about in considerably detail in the book) occurs long into Allie’s engagement to a “good man” that she says more than once she’s in love with. She playfully rebukes Noah’s advances with, “You wouldn’t dare. I’m a married woman!” He counters by reminding her she isn’t married yet . They then commence a two-day love affair that, because of its fiery intensity and just-shy of explicit nudity feels like it lasts at least that long onscreen.

Thinking Allie is lost to him forever, Noah “takes the sting of loneliness” away by becoming bed buddies with a war widow named Martha. (Sex is implied when Martha gets out of bed nude; she’s seen from the back, from the waist up.) Martha knows he’s thinking of another woman during their romps but accepts his explanation that “the things you want are all broken, gone.” Martha goes over to Noah’s house after he’s reunited with Allie and asks to meet his “one.” Inexplicably, instead of being jealous, Martha is inspired by the love she sees. Her parting words to Noah are, “For the first time since I lost [my husband], I feel like I have something to look forward to.”

Elsewhere, Allie licks ice cream off Noah’s face on a public street (risqué stuff for 1930s rural America). And he slaps her bottom as she gets out of his truck. A nude Allie is seen painting (waist up from the back). A few characters wear revealing outfits.

Violent Content

Allie pushes and slaps Noah several times during a heated argument. (To his credit, Noah refuses to retaliate.) Noah’s best friend, Fin, dies in battle. (War images are brief and tempered.)

Crude or Profane Language

A half-dozen misuses of God’s name (three of “g–d–n”), and a dozen or so other mild profanities (“a–,” “h—,” “d–n”). The elderly Allie, commenting on a notebook passage, says, “She should have told them to stick it where the sun don’t shine.”

Drug and Alcohol Content

The narrator tells us that Noah goes on a 10-day drinking binge after seeing Allie with her fiancé, Lon. Indeed, both Noah and Allie drink quite a bit to smother their pain. Allie and Lon seem a bit tipsy while drinking champagne at a nightclub. Lon has a casual drink in his office. When the adult Allie and Noah have beers with dinner, she tells him she’s a cheap drunk. Guests at a party drink and smoke cigarettes. WWII soldiers and Lon also inhale.

Other Negative Elements

A few juvenile hijinks don’t cause much of a ruffle onscreen, but could result in real-life unhappy endings if imitated: An impetuous young Noah dangles from the heights of a Ferris wheel with one hand to capture Allie’s attention. (She responds by undoing his pants and revealing his boxers.) When Noah challenges Allie to lie down in the middle of an intersection (remember, this is rural America) in the middle of the night, she asks, “What happens if a car comes?” His deadpan reply? “You die. You have to learn to trust.” Elsewhere, army recruits are seen nude. (Their hands cover their privates.)

Allie’s parents make no secret of the fact that they believe Noah isn’t worthy of their daughter. They like him all right, he’s just not rich enough and doesn’t have the right daddy. On the night of the couple’s breakup, Noah overhears Allie’s mother calling him “trash, trash, trash!” Mrs. Hamilton’s deception of hiding Noah’s letters from Allie succeeds in keeping the couple apart for years, but at the cost of a strained mother-daughter relationship.

Some will write The Notebook off as yet another emotionally manipulative and overly-sappy “chick flick.” But because it looks so tenderly at an elderly couple stricken by Alzheimer’s, others will find themselves attracted to it, placing themselves into the story and living out its emotion. It might also be seen as a timely reflection of the deep and lasting loved shared by Nancy and Ronald Reagan, whose love story has made a permanent cultural impression. Just as Nancy’s commitment and love transcended the emotional and physical gulf that marked her husband’s disease, so Noah’s steadfast love for Allie sustains them.

Nicholas Sparks has said his story “is a metaphor for God’s love for us all. The theme is everlasting, unconditional love. It also goes into the sanctity of marriage and the beauty you can find in a loving relationship.” Although that metaphor gets more than a little muddied by premarital sex, Noah and Allie ultimately realize the full potential of mature love. Most romantic dramas only celebrate the chaotic, spontaneous flush of young love, serving it up as the pinnacle of the relationship before either settling down on a complacent plateau or crashing down the slippery slope of dysfunction. Sparks’ movie shows a rare understanding of the kind of love God desires for married couples, a once-in-a-lifetime deep intimacy of spirit, expressed without boundaries and growing in strength and loveliness as time goes by. It is the kind of soul-satisfying love that God established as a demonstration of His own love for His people, hence the author’s metaphor. That makes it all the more regrettable that steamy sex scenes will give a lot of adults reason to pause, and push the tale (at least unedited) out-of-bounds for discerning teens.

Rhonda Handlon

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'the notebook': a grim fable of cruelty in wartime.

Ella Taylor

László Gyémánt and András Gyémánt star in The Notebook. Christian Berger/Courtesy of Sony Pictures Classics hide caption

László Gyémánt and András Gyémánt star in The Notebook.

At first blush, the Hungarian film The Notebook (no relation, trust me, to that other Notebook ) seems to be gearing up as a standard World War II weepie with clumsy plotting. It's 1944; the war is almost done; a father returns home on leave; brief scenes of domestic bliss follow. Then, out of the blue, Dad (Ulrich Matthes), seemingly worried that his twin sons would be "too conspicuous in wartime," packs them off to live with their grandmother in the countryside. Handing them a notebook, he tells them to record everything that happens to them.

In short order and against the grain of its bucolic naturalism, The Notebook slyly morphs into a grim fable of progressive human degradation. Either that or, if you've read your Brothers Grimm, it's a Calvinist fairy tale of extreme character-building. Grandma (a terrific Piroska Molnar) turns out to be a lush, a nasty witch and possibly a poisoner. She calls the boys "bastards," sets them to work chopping wood, and withholds tender letters from their mother (Gyongyver Bognar). The Nazi officer billeted in her barn (Danish actor Ulrich Thomsen, from The Celebration ), who's either a predator or a protector, or both, proclaims himself the boys' "friend."

Joining forces with a village girl thief they call Hare Lip, the boys (played by twins Laszlo and Andras Gyemant) take on the hypocritical priest and his sexually abusive maid. They try to protect a kindly Jewish cobbler from a Nazi roundup. They bring food and blankets to an AWOL soldier.

Note that none of this is done out of fellow feeling. Note also that the handsome twins acquire a mean zombie stare to match their own increasingly savage behavior. They slap one another around, devise savage endurance tests for themselves, practice random acts of cruelty. Indeed, the boys seem to be fulfilling, in its purest form, the task allotted to every Grimm child: to toughen up in preparation for life's adversities in and out of wartime. Fear-based discipline, that's the ticket!

So what exactly is The Notebook, which is based on an acclaimed novel by Hungarian writer Agota Kristof and directed with panache by Janos Szasz? For sure, it's more than a picaresque wartime action adventure, or even a cautionary tale of Protestant spine-stiffening and abstract ethics. Maybe it's a parable of Freudian individuation and separation from mom and dad?

Possibly, but there's more to this than coming of age, though it may surprise you to learn who finally equips the boys with what they need to grow up and begin to live as adults. And that one of the boys walks over the corpse of a close relative whom the twins have essentially sent to that person's death.

Straddling nihilism and a moral fastidiousness so "pure" it flirts with the very fascism it means to critique, The Notebook cedes not one solitary inch to humanism. That is a time-honored strategy in the theater of cruelty, which is predicated on pushing an argument as far as it will go. It's a gambit that allows the artist to examine questions of good and evil without gumming up the works with easy sentimentality.

As moral and intellectual inquiry, though, it's also a blunt instrument that flattens crucial distinctions between degrees and kinds of wrongdoing. Should we equate Nazi genocide with the rape and beatings practiced by Russian liberators? Is innocence of its nature evil? Is the cruelty of children equivalent to that of adults?

If nothing else, The Notebook runs exuberantly counter to American melioration, optimism and the horticultural view of nurturant parenting that dominates our culture. Which may be why, in 2013, having made it to the long list of foreign language films up for an Oscar, the film stayed right there. I wouldn't bet on its prospects as mommy-blog click bait either.

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The notebook.

• 80 Dallas Observer Luke Y. Thompson Dallas Observer Luke Y. Thompson If you're the sort who enjoys shedding such in darkened theaters, your must-see summer movie has arrived.
• 75 Chicago Tribune Michael Wilmington Chicago Tribune Michael Wilmington May be corny, but it's also absorbing, sweet and powerfully acted. It's a film about falling in love and looking back on it, and it avoids many of the genre's syrupy dangers.
• 63 ReelViews James Berardinelli ReelViews James Berardinelli Sadly, the elements that made the book special did not survive the transition to the screen.
• 60 Variety Robert Koehler Variety Robert Koehler A determined and often affecting romance that doesn't speak down to audiences.
• 60 Village Voice Jessica Winter Village Voice Jessica Winter Amid the sticky-sweet swamp of Jeremy Leven's script, Rowlands and Garner emerge spotless and beatific, lending a magnanimous credibility to their scenes together. These two old pros slice cleanly through the thicket of sap-weeping dialogue and contrivance, locating the terror and desolation wrought by the cruel betrayals of a failing mind.
• 58 Entertainment Weekly Lisa Schwarzbaum Entertainment Weekly Lisa Schwarzbaum You know what you want to see if you want to see The Notebook...You want to see girls in pretty 1940s dresses, soldiers in stirring World War II uniforms, handsome automobiles and equally handsome Southern landscapes. You want to see romance overcome adversity.
• 40 The Hollywood Reporter Michael Rechtshaffen The Hollywood Reporter Michael Rechtshaffen Mercilessly plodding pacing, problematic character motivations and a fundamental lack of chemistry between the two star-crossed lovers in question don't do a lot to help its cause.
• 40 The A.V. Club Scott Tobias The A.V. Club Scott Tobias Opening shots tend to say a lot about a movie, but they say everything about The Notebook, a glossy adaptation of Nicholas Sparks' four-hanky sudser.
• 40 L.A. Weekly Ella Taylor L.A. Weekly Ella Taylor From the first soft piano that accompanies white geese flying toward a humongous orange sunset, The Notebook racks up the sugary clichés till you’re screaming for mercy.
• 25 Rolling Stone Peter Travers Rolling Stone Peter Travers I have the same allergic reaction to this open faucet of tear-jerking swill as I do to the 1996 Nicholas Sparks novel that inspired it.
• See all 34 reviews on Metacritic.com
• See all external reviews for The Notebook

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The Notebook Review

25 Jun 2004

124 minutes

Notebook, The

Following the tradition of Fried Green Tomatoes, this romantic weepy relates a tale in the hope that its modern-day protagonists ù who may well have played a part in the story themselves - will be better for hearing it.

But, on film at least, this story might have been better without its modern-day protagonists, played by James Garner and Gena Rowlands (Cassavetes' mother). Garner's narration smacks of greeting-card sentiment and the Alzheimer's storyline, in which Rowlands' character has lost her memory, is oversimplified.

Thank goodness, then, for the magic created by young stars Ryan Gosling and Rachel McAdams, whose intense romance is played out with conviction and an infectious joie de vivre. Little in their journey is unexpected: you're waiting for the obstacle (after all, what self-respecting young lady in the 1940s would have been seen without two handsome suitors to compete over her?), and the solution is not hard to spot, either.

But thanks to delightful characters, careful pacing and a stirring score, this film achieves the distinction of being exceptionally moving without anyone major having to die.

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The Notebook: 7+ Thoughts I Had While Rewatching The Ryan Gosling And Rachel McAdams Movie

If you're a bird, I'm a bird.

The Notebook is one of the best romantic movies of all time. It’s a beautiful tale of an unbreakable love story between people of different social classes. On paper, they would never work. However, their love is powerful enough to break any barriers that stand in their way. Ryan Gosling and Rachel McAdams star as Noah and Allie, the main protagonists of this love story.

I wouldn’t say The Notebook ranks in my top 5 favorite romantic movies of all time, but it’s definitely in the top 20. The undeniable chemistry between Gosling and McAdams makes it a must-watch for all romance movie fans. Because I haven’t seen a romantic movie that I’ve really loved in a while, I decided to revisit some of my favorite movie romances, and that included a rewatching of The Notebook. I have some thoughts.

Warning The Notebook spoilers ahead. Proceed with caution.

Ryan Gosling And Rachel McAdams Give Some OF Their Best Performances In The Notebook 

Ryan Gosling and Rachel McAdams are both really good actors. I would even argue that Gosling is one of the best actors who hasn’t won an Oscar. While rewatching The Notebook , I couldn’t help but be even more convinced of this opinion. Gosling and McAdams completely convince us that they’re in love. Not only that, you see how much they put into these performances.

In the scene where Noah hears Allie’s parents calling him trash, how can your heart not break watching Noah react to it? In the scene where Allie pretends to be a bird, how can you not feel her joy? You feel all of these characters’ emotions because McAdams, Gosling, and the entire cast give really strong performances.

For two-plus hours, Gosling becomes Noah and McAdams becomes Allie. I’ve seen many Rachel McAdams movies and many Ryan Gosling movies and Allie and Noah are some of their most beloved characters because of how good they are in these roles. The Notebook is one of the best Rachel McAdams movies and one of the best Ryan Gosling movies . They’re both really outstanding in this film. 

The Costumes And Makeup Departments Are The MVPs Of This Movie 

The Notebook starts with Allie and Noah as teens, then ends with them as older adults. At some point, they’re in their mid-20s. The oldest versions of Allie and Noah are played by James Garner and Gena Rowlands. The rest of the ages are played by Rachel McAdams and Ryan Gosling. They completely convince you that they’re teens at the start of the movie. This is partly because of their acting skills, and partly because of the makeup department.

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They tone back the makeup with McAdams to give her a fresh face to portray teen Allie. Clean-shaven Ryan Gosling looks like a teen. Once he has facial hair, he becomes an adult Noah who has seen some things. As Allie ages, more makeup appears to be added, which makes her look older and more sophisticated. The makeup is really subtle but completely transforms these characters.

The 1940s fashion is really gorgeous in The Notebook. Every one of Allie’s outfits, I would love to steal. They’re just so fabulous. The costume designers also use the clothes in very interesting ways. I noticed that the outfit that Allie and Noah wear when they meet, mimics the clothing that they’re wearing as older adults, at least in terms of colors. The Notebook is one of those movies where it’s clear that multiple elements, including costumes and makeup, work in harmony to make this such a memorable film. 

The Notebook Breakup Scene Is One of The Best In History

Thankfully, The Notebook isn’t one of the great breakup movies , because that would totally ruin the vibe of the film. However, the film has one of the greatest movie breakup scenes. Many adore The Notebook because of all the major declarations of love, the steamy sex scene, and the enticing chemistry between the lead characters. I love all those things as well, but I also really like the main breakup scene.

It starts with Noah having his heart broken by hearing what Allie’s parents think of him. Then it leads to him ending it. We see every emotion in that scene, from anger to desperation to confusion to fear to hopelessness. It’s brilliant. Then we see parallel elements of that scene in the part where Noah fights for them to be together, but Allie doesn’t want to break Lon’s ( James Marsden ) heart.

The Notebook breakup scene just feels so realistic and raw.

The Drama And Romance Always Sweeps Me Away 

Until rewatching The Notebook , I didn’t realize how much the film engulfs you. The two-plus hours pass fast because I’m so drawn into this story and this world. I know what is going to happen, but I can’t look away. It’s one of those rare films that really takes hold of you from start to finish. You feel all their emotions, you suspend reality and reason, and you let your hopeless romantic side thrive.

Like Allie and Noah’s love story, The Notebook can be all-consuming. 

I Can’t Help But Feel Bad For Lon

Lon joins the list of movie boyfriends involved in a love triangle who do nothing wrong but just aren’t the right guy. Sometimes the other guy in these types of movies sucks. Lon is not one of those guys. Allie not only cheats on him, but she does it while completely forgetting about him for days. According to my calculation, Allie and Noah only dated for a few months (before getting married and starting their life together), but she dated Lon for at least three years before completely dumping him.

Even if you love Allie and Noah together, you kind of have to think that they were quite terrible for how they treated their exes. At least poor Martha (Jamie Brown) could see their romance as a window of what could be for her. We don’t even completely get Lon’s reaction to the breakup.

For all we know, the Allie breakup could have been Lon’s villain origin story. I know that viewers aren’t supposed to hate Allie and Noah, because we’re supposed to view this all as them being so in love that they would always only want each other. However, love shouldn’t be an excuse to just cheat and neglect your fiancé.

Is The Notebook Ending Tragic Or Happy? 

When I originally saw The Notebook , I considered it a happy ending. They were able to live their lives together and even leave the world together. However, watching it again, I couldn’t help but wonder if this isn’t exactly a happy ending. Yes, they got to die together, but it’s pretty terrible that they reached the stage in their life where their bodies began to betray them. That’s part of life and aging, but it’s also a pretty downer way to end a love story. Realistic? Probably? Downer? Absolutely.

The sadness of The Notebook ending makes it easy to see why some versions don’t show it. It’s definitely a happy ending that they got to live a full life together and were able to leave the world together. The tragedy comes with the whole aging process and how it can disrupt even a beautiful love story, even if only temporarily. 

Other Thoughts 

The Notebook rewatch sparked so many thoughts, some silly, some profound, and more just ramblings. Here are my other thoughts.

• I think I just really love period piece love stories. Something about them makes everything more tragic and heightened. 
• The Notebook really has a thing for birds. I’m assuming they’re a metaphor for Allie feeling caged by parents, and society, but finally being able to fly free at the end. 
• I love writing letters, but even I find the idea of 365 letters kind of tedious. 
• I had completely erased the war part of The Notebook from my memory.  It’s so quick that it’s barely in there. 
• I would love a prequel about Allie’s mom and her ex. Basically, Noah and Allie, but one that doesn’t work out. 
• The Notebook has so many great quotes. 
• Rachel McAdams’ lungs must have hurt with all the random screaming moments in the movie. 

You can find The Notebook and plenty of other great romance movies on HBO Max . 

Stream The Notebook on HBO Max . 

Spent most of my life in various parts of Illinois, including attending college in Evanston. I have been a life long lover of pop culture, especially television, turned that passion into writing about all things entertainment related. When I'm not writing about pop culture, I can be found channeling Gordon Ramsay by kicking people out the kitchen.

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The Notebook Review

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I made a New Year's resolution this year, and after seeing The Notebook , it's a resolution I wish I didn't make, rather, a resolution I didn't stick to. My resolution this year was to at least make an effort to see EVERY film that I possibly can, given the limitations of the options around me. These limitations basically leave me with blockbusters, comedies and movies like The Notebook . Like most guys, I usually strayed from the "chick flick" genre, unless my methods of hypnosis managed to persuade my way into a date of some sort...so yeah, basically I didn't see any chick flicks. But, a resolution is a resolution, and with a girl I know wanting to see The Notebook , off I went. Damn resolutions...I'm gonna resolve to steal a Ferrari next year or something...

The movie starts out in a nursing home of some sort, and an elderly man, "Duke" (Garner) on his way to his daily ritual of reading a story out of a notebook to an elderly woman, Allie. It's a story of young love and heartbreak, separation, moving on and all that crap. Of course, this story seems quite familiar to Allie...blah blah blah. If you've seen the trailer, you don't need Jedi-like foresight to figure out what's going to happen here.

This flick borrows from so many different movies it's not even worth mentioning a few. There is the "from two different worlds" element, with the rich girl and poor boy falling in love, despite the rich parents dissaproval. There is a little bit of the war/"I'm never going to see him/her again" aspect, somewhat taken from Cold Mountain and many other movies. Plus we get different bits of 50 First Dates/Memento and sappy elements from so many chick flicks I can't even begin to count. It almost seems as if the title alludes to novelist Nicholas Sparks' notes on different flicks he's watched, which, in turn, resulted in his novel this movie is based on. I haven't read the novel, so I don't know how faithful the movie is to the book, but it doesn't matter. This movie just doesn't have anything going for it, as far as originality is concerned. True, there are some interesting little twists that in the context of the movie are well-done. But the twists themselves have, again, been done many times before.

The movie does have a few good things going for it, though, and they are mainly from the performances. Ryan Gosling, a relative newcomer best known for his role in the underrated Murder by Numbers, gives a fine performance in his first true leading role as Noah. He's very diverse, portraying the high's of his affection for Allie and the low's of his dull, morose life after their separation. Rachel McAdams, another newcomer fresh off shadowing Lindsey Lohan in Mean Girls, does a great job also as Allie. She is wonderful at showing both sides of her persona: the free-spirit when with Noah, and slightly reserved socialite when with new beau Lon (Marsden). James Garner does a very nice job as "Duke" and Gena Rowlands is superb as the elderly Allie. And Joan Allen does a fantastic job as Allie's mean-spirited Mom, as well.

But, acting aside, there is nothing else really redeeming about this movie. The script was written by Jeremy Leven, whose dicey resume should be a warning sign anyway (See: Alex and Emma, Crazy as Hell, whatever the hell that is). I suppose he should be given credit for being consistently predictable, and putting old twists in different contexts. The dialogue, for the most part, isn't too bad also, but you can see everything coming 86 miles away. And it seemed he couldn't decide where to end this flick either. There are a few different spots that could've easily served as a decent ending, but he kept going and going, trying to squeeze as much, pardon the pun, sap out of the proverbial tree as humanly possible. Sure, there are a few purely touching moments, but overall, the material has been used so much before that it took everything out of it.

Director Nick Cassavettes, son of actor/filmmaker John Cassavetes and Gena Rowlands, doesn't too bad a job at the helm here. It's a very colorful film (literally) and he uses some beautiful sets. The problem is I couldn't really focus on his work because the story was so bothersome. Still, this movie won't help him to break through his streak of mediocrity (See: John Q, She's So Lovely).

The Notebook is a movie about love conquering all, and all that crap. The girls will dry their eyes, while the guys will roll theirs. The acting and directing are well-done, but it's an incredibly predictable, unoriginal and dull yarn that should've stayed on the page rather than on the screen.

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The Notebook

Dove review.

Allie’s husband demonstrates a life-long commitment to his spouse “in sickness or in health.” He never leaves her side, and his unfailing devotion and love for her is an inspiring portrait of marriage. The film did unfortunately contain an intimate sex scene between a man and woman outside of the context of marriage. There is some crude language and profanity, but it is moderate compared to many PG-13 films. The overall moral content of the film is less than admirable but is also comparatively mild.

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‘The Notebook’ Remains One of the Most Heartbreaking Movies on Dementia

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The Big Picture

• The Notebook portrays the impact of dementia on relationships sensitively and emotionally.
• Allie's Alzheimer's diagnosis highlights the fragility of life and the power of love.
• Noah's unwavering hope and love despite Allie's memory loss is portrayed as a poignant message.

“It’s better to have loved and lost than never to have loved at all.” While this usually relates to the physical loss of someone, it can just as easily fit for the distressing condition of dementia. The Notebook ’s Allie Hamilton ( Rachel McAdams ) may not have lost Noah ( Ryan Gosling ), but she lost the memory of him, and maybe that’s not all too different. When the adaptation of Nicholas Sparks ’ best-selling novel hit the big screen in 2004, it wasn’t long before it was dubbed the next big romance. After all, what says romance better than lovers embracing in the pouring rain? (Minus the drowned rat look, of course). Alongside some of the most iconic scenes of this movie including Ryan Gosling talking about how many letters he's written over the years and Rachel McAdams saying she's a bird, The Notebook 's deeply affecting portrayal of dementia still stands out to this day .

Today, there are several on-screen depictions of dementia, the most recent of which is The Father . Filmed in such a way that the viewer experiences much of the same confusion as someone living with this condition, it quickly garnered praise. And Anthony Hopkins even picked up the ultimate accolade — the Oscar — for his portrayal. Yet, while there has been plenty of material that has given us a good insight into the day-to-day reality for sufferers and their families, The Notebook gave us something different . And coming out in 2004, it was one of the first movies that delved into the topic.

The Notebook

Adapted from Nicholas Sparks' novel of the same name, The Notebook is a romantic drama film that follows a couple who fall in love during the 1940s. Duke, an older man, recounts the story of two young lovers whose lives never lined up quite right to a fellow patient in his nursing home. Reading from the notebook pages, the movie keeps flashing from the present into the past to tell the story of the one that got away.

'The Notebook' Showcases the Hardships of Maintaining a Relationship After An Alzheimer's Diagnosis

Directed by Nick Cassavetes , The Notebook is a classic boy meets girl tale. Falling in love as teenagers, the headstrong rich girl Allie, and the poor boy with a heart of gold, Noah, are instantly inseparable. Despite coming from opposite worlds and having Allie's family constantly barging in on their relationship, the young couple fought the odds head-first. Even when Allie was set to marry someone else who seemed to check off the boxes in her parents' criteria, it took the character one glance at the newspaper to have her feelings for Noah return in full force. After the two reconnect later in life, it becomes clear that nothing can prevent them from being together .

Although their rekindled relationship seven years after their early romance feels like a happily ever after, the present proves to be a much different reality. When McAdams and Gosling aren't sharing a passionate kiss in the rain, there is another couple audiences see: the aged-up versions of Allie and Noah . We soon discover that Allie ( Gena Rowlands ) now has Alzheimer’s and lives in a senior care center, where she is constantly being assisted by caretakers. Every day, Noah ( James Garner ), now known as Duke, reads to her from a notebook that ultimately tells the story of their love. Yet, given Allie's condition, she perceives the story as merely fiction. A beautiful tale of two soulmates finding their way back to each other. Despite being told repeatedly by doctors that Allie just won’t remember what they went through, Noah never gives up hope . “Science goes only so far, then comes God,” he argues.

The Nicholas Sparks Adaptation Allows Allie the Opportunity To Be Perceived Beyond Her Condition

Seeing this deeply affecting condition played out before our eyes is bound to be heartbreaking in any way. Yet, there is something even more moving about seeing it interspersed with joyful youth. The audience gets to see the full life this woman led , aside from the difficulties she is facing with memory loss. Her love, her talents, and her ambition were at once what made up her existence, and that is something that is rarely seen in other films that portray life with Alzheimer's. The juxtaposition, from a fun-loving Allie frolicking in the expansive sea to a woman trapped by her own mind, is a sobering reminder of the fragility of life. While in one's youth, it seems like there is so much left to do in the future, in the elderly stages, it might be harder to seize the moment.

When Noah sits down at the table opposite Allie to read to her, she simply sees a man that she doesn't really know, keeping her company with a heartfelt narrative. She doesn’t see everything he represents – her first love, her first breakup, and her hard-fought love story. When she says, “I think I’ve heard this before,” we see a glimmer of memory breaking through, it doesn't occur to her that the reason why that story is so familiar is that she lived it. The audience knows that this is actually her journey through clues sprinkled throughout the film. When observing the cover of the notebook that Noah is reading from, there is a phrase saying, "Read this to me & I’ll come back to you," inscribed under the title, “The Story of Our Lives.” By putting two and two together, viewers understand that the series of events that are presented through flashbacks are actually memories that Noah still holds onto and that Allie has unfortunately forgotten about because of her illness.

While forgetting her one true love may seem the worst fate, we soon find out it gets worse, as she has children, who are now all grown up. On a visit to see the mother who no longer knows them, they introduce themselves as Duke’s children to not confuse her further. Some of them also have kids of their own, which means that Allie isn't aware of her own grandchildren either. Watching this scene unfold is heartbreaking because it is noticeable that her adult children visit her regularly and must constantly pretend that they are meeting with her for the first time so that Allie doesn't get overwhelmed. It is also sad to see that in losing one parent, they have lost another since Noah lives in the facility with her, reading the notebook in the hopes that she will remember the life that they had as a couple.

When Allie Remembers Noah, It Is Gut-Wrenching Because She Forgets Him Shortly After

One of the film's most upsetting scenes comes when Allie remembers Noah. “It was us!” she tearfully exclaims over a candlelit dinner. Sweeping Allie up in a strong embrace, he tells her they may only have five minutes together before she forgets again. It is in this scene that we see why Noah hasn’t given up the fight. He is living for these small yet magical moments when she remembers him . His determination on a daily basis is to do what he can for her to be her old self again, even if it is for a short amount of time. Different from the other people roaming around the halls of the senior home, Noah had a lifetime's worth of romance and partnership with the woman that he loved, and being without her just didn't seem to be an option for him . Although she is only aware of who he is for about five minutes, it is enough for them to go back to the couple they once were, dancing and holding onto each other tenderly.

Shortly after Allie's memory comes back, she forgets about him, and, in doing so, she fears that the stranger by her side isn't a good person . It is because of her inability to remember that things soon turn sour when she snaps at him for calling her darling. It’s not long before the staff comes rushing in to restrain the agitated Allie while Noah weeps at the sight of his loved one panicking about being with him. If an audience member hasn't shed a tear through the film, this moment will surely lead to a sob.

Although The Notebook received some criticism for its highly romanticized vision of dementia and caregiving, it still carries with it an important message about the power of unconditional love and unwavering hope . It shows a man giving his life to another in the purest of ways and a woman who lived a full life and gave her love freely. And, although she may not remember it, she provided beautiful memories for others in her presence, and at the end of the day, perhaps that’s what counts most.

The Notebook is available to rent on Prime Video in the US.

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Home — Essay Samples — Literature — The Notebook — A Review of The Notebook, a 2004 Movie Based on a Novel by Nicholas Sparks

A Review of The Notebook, a 2004 Movie Based on a Novel by Nicholas Sparks

• Categories: The Notebook

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Words: 515 |

Published: Nov 16, 2018

Words: 515 | Page: 1 | 3 min read

The Notebook

Works cited.

• Sparks, N. (1996). The Notebook. Grand Central Publishing.
• Sparks, N. (1999). A Walk to Remember. Warner Books.
• Sparks, N. (2006). Dear John. Grand Central Publishing.
• Sparks, N. (2013). The Longest Ride. Grand Central Publishing.
• O'Bryan, S. (2013). An analysis of the use of descriptive language in The Notebook by Nicholas Sparks. International Journal of Humanities and Social Science Research, 1(1), 78-89.
• McDaniel, D. (2005). The Notebook: A Film for All Seasons. Film Journal International, 108(3), 16-17.
• Kord, S. (2013). The Novel and the Cinema: Nicholas Sparks’s The Notebook. In A. Blouin, & J. Tsao (Eds.), Adaptation: The Journal of Literature on Screen Studies, 6(2), 177-195.
• Nafisi, A. (2008). The Notebook: An American Classic. The Chronicle of Higher Education, 54(7), B6-B9.
• Smiley, J. (2013). The Appeal of Nicholas Sparks. New York Times, 18.
• Bauer, T. (2016). The Notebook: Why Audiences Fall in Love with Nicholas Sparks's Tragic Love Story. In T. Bauer (Ed.), Unrequited Love in Literature (pp. 127-136). Palgrave Macmillan.

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The 40 Best Movies Like 'The Notebook', Ranked By Fans

Vote on the movies that fans of The Notebook are sure to love.

Cinephiles who savored the profound emotions of The Notebook will appreciate this comprehensively curated list of films. This unique collection focuses on movies that echo the intense passion, complex love stories, and heart-breaking character arcs seen in the cinematic masterpiece of The Notebook . This ranking is truly democratic, shaped by the careful judgment of movie enthusiasts and renowned critics. The process prioritizes the sentiments of the fans, providing an inclusive and comprehensive ranking system for these movies.

Our assembly boasts over twenty-five films, each selected with immense care due to similar pathways traversing love and tragedy. Emphasizing the transcendental theme of enduring love against all odds, The Fault In Our Stars has found a prominent place in this list. The captivating romance in A Walk To Remember , reminiscent of the poignant emotions stirred by The Notebook , sets it apart as another significant inclusion. Titanic , with its larger-than-life love story cut short by tragic fate, deserves its high ranking on the list. Every movie included here has been chosen for its unique narrative prowess and the ability to deeply move its viewers, resulting in a list that offers a nuanced exploration of love.

To make your movie marathon even more seamless, we have streaming buttons accompanying each title for platforms such as Amazon Prime, Netflix, and Hulu, amongst others. Whether you're a Paramount+ subscriber, an Apple TV+ enthusiast, or a Disney+ fan, the availability of these platforms will ensure you can dive right into these romantic sagas without any hassle.

Finally, we invite you to cast your votes. Your participation is paramount in shaping this list to reflect the best, according to both fans and critics. So, peruse our collection, find your next tear-jerker, and don't forget to vote and maintain the democratic essence of this unique and comprehensive ranking system.

The Last Song

The passionate relationship between Ronnie and Will in The Last Song reflects the intensity and fervor of Noah and Allie's love story in The Notebook . Both narratives beautifully depict the transformative power that undying love can wield, even amidst familial conflicts, personal growth, or life-altering diseases.

The Fault in Our Stars

Both The Fault in Our Stars and The Notebook deal with the intense, heart-wrenching aspect of love in the face of life-threatening illness. Hazel and Gus in The Fault in Our Stars find parallels with Allie and Noah in The Notebook , as the couples face the mortalities of their loved ones. Ultimately, both narratives highlight the fragility of life, the power of love and sacrifice, and the inevitability of death.

The love between John and Savannah echoes the enduring bond between Noah and Allie in The Notebook , offering a striking parallel of passion strengthened by time, distance, and adversities. The two narratives highlight the complexities of love, and the sacrifices it warrants, and underscore the core belief that true love, albeit tested, remains eternal.

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A Walk to Remember

The Notebook and A Walk to Remember are both poignant love stories where enduring love conquers all hardships. The couples, Noah and Allie from The Notebook , and Landon and Jamie from A Walk to Remember , are drawn together despite societal boundaries and personal challenges, notably health issues. These narratives explore the paramount significance of love, sacrifice, and the power of memories, showing how these elements uniquely define their relationships.

The Best of Me

The Best of Me and The Notebook are heart-tugging tales of love that span time and test the limits of forgiveness and second chances. In The Best of Me , Dawson and Amanda's turbulent romance mirrors Noah and Allie's passionate love in The Notebook , as societal differences and separated paths do not ultimately deter their undying love. Both narratives celebrate the enduring power of love, the freedom and anguish it brings, and the lengths people go to rekindle it, despite life's unforgiving turns.

Ghost and The Notebook are both compelling love stories where the transcendent power of love overcomes even death. Sam and Molly from Ghost share parallels with Noah and Allie from The Notebook in terms of their profound love for each other, even when they face extraordinary circumstances like death and dementia. Both films demonstrate how love extends beyond physical existence and persists even in the face of loss and memory decline.

Gena Rowlands, acting legend who starred in 'The Notebook,' dies at 94

Gena Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and who later charmed audiences in her son’s tear-jerker “The Notebook,” has died. She was 94.

Rowlands’ death was confirmed Wednesday by representatives for her son, filmmaker Nick Cassavetes. He revealed earlier this year that his  mother had Alzheimer’s disease . TMZ reported that Rowlands died Wednesday at her home in Indian Wells, California.

Operating outside the studio system, the husband-and-wife team of John Cassavetes and Rowlands created indelible portraits of working-class strivers and small-timers in such films as “A Woman Under the Influence,” “Gloria” and “Faces.”

Rowlands made 10 films across four decades with Cassavetes, including “Minnie and Moskowitz” in 1971, “Opening Night” in 1977 and “Love Streams” in 1984.

She earned two Oscar nods for two of them: 1974’s “A Woman Under the Influence,” in which she played a wife and mother cracking under the burden of domestic harmony, and “Gloria” in 1980, about a woman who helps a young boy escape the mob.

“He had a particular sympathetic interest in women and their problems in society, how they were treated and how they solved and overcame what they needed to, so all his movies have some interesting women, and you don’t need many,” she told the AP in 2015.

In addition to the Oscar nominations, Rowlands earned three Primetime Emmy Awards, one Daytime Emmy and two Golden Globes. She was awarded an honorary Academy Award in 2015 in recognition of her work and legacy in Hollywood. “You know what’s wonderful about being an actress? You don’t just live one life,” she said at the podium. “You live many lives.”

A new generation was introduced to Rowlands in her son’s blockbuster “The Notebook,” in which she played a woman whose memory is ravaged, looking back on a romance for the ages. Her younger self was portrayed by Rachel McAdams. (She also appeared in Nick Cassavetes’ “Unhook the Stars” in 1996.)

In her later years, Rowlands made several appearances in films and TV, including in “The Skeleton Key” and the detective series “Monk.” Her last appearance in a movie was in 2014, playing a retiree who befriends her gay dance instructor in “Six Dance Lessons in Six Weeks.”

One of her career triumphs was 1974’s “Woman Under the Influence,” playing a lower middle-class housewife who, the actor said, “was totally vulnerable and giving; she had no sense of her own worth.” In “Gloria” (1980) she portrayed a faded showgirl menaced by her ex-boyfriend, a mobster boss. She was Oscar nominated as best actress for both performances.

She and Cassavetes met at the American School of Dramatic Arts when both their careers were beginning. They married four months later. In 1960 Cassavetes used his earnings from the TV series “Johnny Stacatto” to finance his first film, “Shadows.” Partly improvised, shot with natural light on New York locations with a $40,000 budget, it was applauded by critics for its stark realism.

Gena (pronounced Jenna) Rowlands became a seasoned actor through live television drama and tours in “The Seven Year Itch” and “Time for Ginger” as well as off-Broadway.

Her big break came when Josh Logan cast her opposite Edward G. Robinson in Paddy Chayefsky’s play “Middle of the Night.” Her role as a young woman in love with her much older boss brought reviews hailing her as a new star.

MGM offered her a contract for two pictures a year. Her first film, a comedy directed by and costarring Jose Ferrer, “The High Cost of Loving,” brought Rowlands comparisons to one of the great 1930s stars, Carole Lombard.

But she asked to be released from her contract because she was expecting a baby. Often during her career she would absent herself from the screen for long stretches to attend to family matters.

In addition to Nick, she and Cassavetes had two daughters, Alexandra and Zoe, who also pursued acting careers.

John Cassavetes died of cirrhosis of the liver in 1989, and Rowlands returned to acting to assuage her grief. Between assignments she sometimes attended film festivals and societies for Cassavetes screenings.

“I want everyone to see his films,” she said at the San Sebastian Festival in 1992. “John was one of a kind, the most totally fearless person I’ve ever known. He had a very specific view of life and the individuality of people.”

Virginia Cathryn Rowlands was born in 1930 (some sources give a later date) in Cambria, Wisconsin, where her Welsh ancestors had settled in the early 19th century. Her father was a banker and state senator. She was a withdrawn child who loved books and make-believe. Her mother encouraged the girl’s ambition to become an actor.

Rowlands quit the University of Wisconsin in her junior year to pursue an acting career in New York. Like other actors of her generation, she gained invaluable experience in the thriving field of television drama in the 1950s, appearing on all the major series.

After leaving her MGM contract, she was able to choose her film roles. When nothing attracted her, she appeared in TV series such as “Alfred Hitchcock Presents,” “Bonanza,” “Dr. Kildare” and “The Virginian.” One of her career delights was co-starring with her icon Bette Davis on the TV movie “Strangers” in 1979.

Her other movies included “Lonely Are the Brave” with Kirk Douglas, “The Spiral Road” (Rock Hudson), “A Child Is Waiting” (with Burt Lancaster and Judy Garland, directed by Cassavetes), “Two Minute Warning” (Charlton Heston), “Tempest” (co-starring with Cassavetes and Molly Ringwald, in her screen debut) and the mother who wants to do right by her children in Paul Schrader’s 1987 study of a blue-collar family “Light of Day.”

In middle age and beyond, Rowlands continued playing demanding roles. In Woody Allen’s austere drama, “Another Woman,” she was cast as a writer whose life has been shielded from emotion until dire incidents force her to deal with her feelings. In the groundbreaking TV movie “An Early Frost,” she appeared as a mother confronting her son’s AIDS.

Rowlands commented in 1992 that her roles remained in her memory.

“Sometimes, those white nights when I have no sleep and a lot of time to think about everything, I’ll examine different possibilities of different characters and what they might be doing now,” she said.

The Notebook Star Gena Rowlands Dies at 94

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Gena Rowlands, who was featured in her son's movie The Notebook along with many other movies over the course of her career, has died. She was 94 years old.

Per Variety , Rowlands died on Wednesday at her home in Indian, California. Her passing was confirmed by the agent's office of her son, filmmaker Nick Cassavetes, who directed Rowlands in The Notebook . The news follows Cassavetes announcing that his mother had been diagnosed with Alzheimer's in June.

In The Notebook , which featured one of her most famous roles as the older version of Rachel McAdams' lead character, Rowlands played a woman suffering from dementia. The hit movie, released in 2004, still stands as one of the most popular romance movies ever made. For her part in the movie, Rowlands won a Best Supporting Actress award at the Golden Satellite Awards.

In 1974, Rowlands was featured as the star of A Woman Under the Influence , which was directed by her then-husband, John Cassavetes. She'd later appear in her husband's 1980 film Gloria , and for both of these movies, Rowlands was nominated for Academy Awards. Along with The Notebook , Rowlands also appeared in 1996's Unhook the Stars and 2012's Yellow , two other films directed by Cassavetes. She also had a role in her daughter Zoe's 2007 movie Broken English .

Rowlands is a four-time Emmy winner, winning her first one for her role as former First Lady Betty Ford in 1987's The Betty Ford Story . She won Emmys in 1992 and 2003 for her roles in Face of a Stranger and Hysterical Blindness . In 2004, Rowlands picked up a Daytime Emmy win with her role in The Incredible Mrs. Ritchie . For The Betty Ford Story and A Woman Under the Influence , she also won two Golden Globe Awards. Rowlands won the Silver Bear for Best Actress for 1977's Opening Night .

Additionally, Rowlands was nominated for eight Primetime Emmy Awards, eight Golden Globe Awards, and two SAG Awards, among others. In 2015, Rowlands was honored with an honorary Academy Award at the Governors Awards because of her career in show business. She was also bestowed with a lifetime achievement award by the Los Angeles Film Critics Association that same year.

With dozens of roles on the big and small screens, Rowlands appeared in a variety of films, with some of her many other credits including Tempest , The Neon Bible , Paulie , Hope Floats , The Skeleton Key , Broken English , and Six Dance Lessons in Six Weeks . Her TV credits include Bonanza , The Girl from U.N.C.L.E. , Columbo , Numb3rs , Monk , and NCIS .

Rowlands' survivors include her children, Nick, Zoe, and Alexandra, along with a number of grandchildren and her second husband, Robert Forrest, with whom she'd been married to since 2012. She was previously married to actor John Cassavetes in 1954, and the pair were together until his death in 1989.

Source: Variety

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Gena Rowlands, acting powerhouse and star of movies by her director-husband, John Cassavetes, dies

Gena Rowlands, acting powerhouse and star of John Cassavetes movies, has passed away aged 94. Her death was confirmed by her son, filmmaker Nick Cassavetes. (Aug. 15)

FILE - Actor Gena Rowlands poses for a portrait at the London West Hollywood hotel in West Hollywood, Calif., on Dec. 4, 2014. Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and later charmed audiences in her son’s tear-jerker “The Notebook,” has died at age 94. (Photo by Chris Pizzello/Invision/AP, File)

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FILE - U.S. director Nick Cassavetes, son of director John Cassavetes, center back, poses with his sister Xan Cassavetes, from left, his daughter Gena Cassavetes, his mother Gena Rowlands, and his sister Zoe, before the screening of his film “The Notebook” on Sept. 5, 2004, at the 30th American film Festival of Deauville, in Normandy. (AP Photo/Franck Prevel, File)

FILE - Actress Gena Rowlands attends the world premiere of ‘My Sister’s Keeper’ on Wednesday, June 24, 2009 in New York. Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and later charmed audiences in her son’s tear-jerker “The Notebook,” has died at age 94. (AP Photo/Evan Agostini, File)

FILE - Actress Gena Rowlands and actor Beau Bridges hold up their Emmys for Best Actress and Best Actor for Miniseries or Special during the 44th Annual Emmy Awards in Pasadena, Calif., Aug. 30, 1992. Rowlands received the Emmy for “Face Of A Stranger” and Bridges for “Without Warning: The James Brady Story.” (AP Photo/Douglas C. Pizac, File)

FILE - Gena Rowlands, left, and Robert Forrest attend the Governors Ball after the Oscars on Sunday, Feb. 28, 2016, at the Dolby Theatre in Los Angeles. (Photo by Al Powers/Invision/AP, File)

FILE - U.S. actress Gena Rowlands waves to the crowd as she arrives at the Festival Palace in Cannes Tuesday May 23, 1995, to attend the screening of Terence Davies’ “The Neon Bible” for the 48th International Film Festival. Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and later charmed audiences in her son’s tear-jerker “The Notebook,” has died at age 94. (AP Photo/Laurent Rebours, File)

FILE - Actor Gena Rowlands poses for a photo in Los Angeles on Sept. 21, 1957. Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and later charmed audiences in her son’s tear-jerker “The Notebook,” has died at age 94. (AP Photo/Dick Strobel, File)

Gena Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and who later charmed audiences in her son’s tear-jerker “The Notebook,” has died. She was 94.

Rowlands’ death was confirmed Wednesday by representatives for her son, filmmaker Nick Cassavetes. He revealed earlier this year that his mother had Alzheimer’s disease . TMZ reported that Rowlands died Wednesday at her home in Indian Wells, California.

Operating outside the studio system, the husband-and-wife team of John Cassavetes and Rowlands created indelible portraits of working-class strivers and small-timers in such films as “A Woman Under the Influence,” “Gloria” and “Faces.”

Rowlands made 10 films across four decades with Cassavetes, including “Minnie and Moskowitz” in 1971, “Opening Night” in 1977 and “Love Streams” in 1984.

She earned two Oscar nods for two of them: 1974’s “A Woman Under the Influence,” in which she played a wife and mother cracking under the burden of domestic harmony, and “Gloria” in 1980, about a woman who helps a young boy escape the mob.

“He had a particular sympathetic interest in women and their problems in society, how they were treated and how they solved and overcame what they needed to, so all his movies have some interesting women, and you don’t need many,” she told the AP in 2015.

In addition to the Oscar nominations, Rowlands earned three Primetime Emmy Awards, one Daytime Emmy and two Golden Globes. She was awarded an honorary Academy Award in 2015 in recognition of her work and legacy in Hollywood. “You know what’s wonderful about being an actress? You don’t just live one life,” she said at the podium. “You live many lives.”

A new generation was introduced to Rowlands in her son’s blockbuster “The Notebook,” in which she played a woman whose memory is ravaged, looking back on a romance for the ages. Her younger self was portrayed by Rachel McAdams. (She also appeared in Nick Cassavetes’ “Unhook the Stars” in 1996.)

In her later years, Rowlands made several appearances in films and TV, including in “The Skeleton Key” and the detective series “Monk.” Her last appearance in a movie was in 2014, playing a retiree who befriends her gay dance instructor in “Six Dance Lessons in Six Weeks.”

One of her career triumphs was 1974’s “A Woman Under the Influence,” playing a lower middle-class housewife who, the actor said, “was totally vulnerable and giving; she had no sense of her own worth.” In “Gloria” (1980) she portrayed a faded showgirl menaced by her ex-boyfriend, a mobster boss. She was Oscar nominated as best actress for both performances.

She and Cassavetes met at the American School of Dramatic Arts when both their careers were beginning. They married four months later. In 1959 Cassavetes used his earnings from the TV series “Johnny Staccato” to finance his first film, “Shadows.” Partly improvised, shot with natural light on New York locations with a $40,000 budget, it was applauded by critics for its stark realism.

Gena (pronounced Jenna) Rowlands became a seasoned actor through live television drama and tours in “The Seven Year Itch” and “Time for Ginger” as well as off-Broadway.

Her big break came when Josh Logan cast her opposite Edward G. Robinson in Paddy Chayefsky’s play “Middle of the Night.” Her role as a young woman in love with her much older boss brought reviews hailing her as a new star.

Nick Cassavetes, son of director John Cassavetes, center back, poses with his sister Xan Cassavetes, from left, his daughter Gena Cassavetes, his mother Gena Rowlands, and his sister Zoe, before the screening of his film “The Notebook” in 2004. (AP Photo/Franck Prevel)

MGM offered her a contract for two pictures a year. Her first film, a comedy directed by and costarring Jose Ferrer, “The High Cost of Loving,” brought Rowlands comparisons to one of the great 1930s stars, Carole Lombard.

But she asked to be released from her contract because she was expecting a baby. Often during her career she would absent herself from the screen for long stretches to attend to family matters.

In addition to Nick, she and Cassavetes had two daughters, Alexandra and Zoe, who also pursued acting careers.

John Cassavetes died of cirrhosis of the liver in 1989, and Rowlands returned to acting to assuage her grief. Between assignments she sometimes attended film festivals and societies for Cassavetes screenings.

“I want everyone to see his films,” she said at the San Sebastian Festival in 1992. “John was one of a kind, the most totally fearless person I’ve ever known. He had a very specific view of life and the individuality of people.”

Virginia Cathryn Rowlands was born in 1930 (some sources give a later date) in Cambria, Wisconsin, where her Welsh ancestors had settled in the early 19th century. Her father was a banker and state senator. She was a withdrawn child who loved books and make-believe. Her mother encouraged the girl’s ambition to become an actor.

Rowlands quit the University of Wisconsin in her junior year to pursue an acting career in New York. Like other actors of her generation, she gained invaluable experience in the thriving field of television drama in the 1950s, appearing on all the major series.

After leaving her MGM contract, she was able to choose her film roles. When nothing attracted her, she appeared in TV series such as “Alfred Hitchcock Presents,” “Bonanza,” “Dr. Kildare” and “The Virginian.” One of her career delights was co-starring with her icon Bette Davis on the TV movie “Strangers” in 1979.

Rowlands and actor Beau Bridges hold up their Emmys for best actress and actor for a miniseries or special in 1992. (AP Photo/Douglas C. Pizac)

Her other movies included “Lonely Are the Brave” with Kirk Douglas, “The Spiral Road” (Rock Hudson), “A Child Is Waiting” (with Burt Lancaster and Judy Garland, directed by Cassavetes), “Two Minute Warning” (Charlton Heston), “Tempest” (co-starring with Cassavetes and Molly Ringwald, in her screen debut) and the mother who wants to do right by her children in Paul Schrader’s 1987 study of a blue-collar family, “Light of Day.”

In middle age and beyond, Rowlands continued playing demanding roles. In Woody Allen’s austere drama “Another Woman” she was cast as a writer whose life has been shielded from emotion until dire incidents force her to deal with her feelings. In the groundbreaking TV movie “An Early Frost,” she appeared as a mother confronting her son’s AIDS.

Rowlands commented in 1992 that her roles remained in her memory.

“Sometimes, those white nights when I have no sleep and a lot of time to think about everything, I’ll examine different possibilities of different characters and what they might be doing now,” she said.

This story has been updated to correct the spelling of the television series “Johnny Staccato” and the release year for “Shadows.”

Film Writer Jake Coyle in New York contributed to this report. The late Associated Press writer Bob Thomas contributed biographical material to this report.

'Alien: Romulus' movie review: Familiar sci-fi squirms get a sheen of freshness

If you were unnerved by Ridley Scott’s claustrophobic terror in 1979's “Alien,” gird your sci-fi loins for the new “ Alien: Romulus .” There’s a smattering of old favorite foes, some needed newness and a giddy commitment to the scary stuff.

Co-writer/director Fede Alvarez (“Don’t Breathe”) clearly loves the original and James Cameron’s action-packed 1986 sequel “Aliens.” The latest franchise installment (★★★ out of four; rated R; in theaters Friday) is set between those two earlier standouts and crafts a narrative pitting a crew of youngsters versus assorted deadly creatures running amok. (Not a spoiler: There is a healthy body count.) The filmmaker embraces unpredictability and plenty of gore for his graphic spectacle, yet Alvarez first makes us care for his main characters before unleashing sheer terror.

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Rain Carradine ( Cailee Spaeny ) and her android “brother” Andy (David Jonsson) work on a mining colony in space run by the extremely shady Weyland-Yutani Corporation. Rain’s parents, and many others, have died as part of this hellish existence, and Rain dreams of living one day on a pastoral planet far away. When her travel request to go off-world is rejected and hard labor is the only thing she has to look forward to, she joins her ex Tyler (Archie Renaux), his sister Kay (Isabela Merced) and friends Bjorn (Spike Fearn) and Navarro (Aileen Wu) in an ambitious getaway plan.

A recently discovered decommissioned space station has the cryo pods they need to survive a yearslong trek to their ideal home. With their spaceship (because kids have personal spaceships apparently), the explorers go plundering the abandoned vessel and find the pods don't have enough fuel for the journey. In the process of seeking extra fuel, they also find an army of Facehuggers, which have a tendency to implant monstrosities in people that birth in the most heinous ways possible. (They’re not called “Chestbursters” for nothing, folks.)

And of course, bigger problems arise as well – you can’t have an “Alien” movie without a Xenomorph, the best of the worst – leading to the dwindling survivors doing what they can to avoid getting ripped open via sinister beastie.

“Romulus” begins with an interesting “Blade Runner” vibe before borrowing from the franchise’s greatest hits, from notable quotes to archetypal personalities. It’s also a pretty straightforward plot – it’s an “Alien” movie, so you do want to stick to what works. Alvarez amps up the horror quotient a lot, with the freakiest atmosphere since the ’79 classic, and it smartly engages with the rules of the previous “Alien” films (for example, Xenomorph blood being crazy acidic) while adding a few fresh aspects to the formula.

Some of the characters are human fodder who die in the gnarliest ways possible but Merced has an intriguing role (it's best if you don't know too much beforehand) and Spaeny gamely fills Sigourney Weaver’s signature slot of Woman Most Likely to Throw Down with a Xenomorph. She’s no Ripley but Rain has her own swagger.

Jonsson, who was fantastic in the underrated rom-com “ Rye Lane ,” gives a riveting humanness to a “synthetic” bullied by those prejudiced against his artificial kind, navigating a character arc that bounces between complicating and helping the heroes’ predicament.

As he did with 2013's "Evil Dead," Alvarez is keeping an old-school chiller alive for a new generation. He's added an intriguing chapter to the “Alien” mythos, one that’s better than many of the later films, especially the prequels like 2012's “Prometheus” that waded too far into big-picture concepts and away from “Hey, watch out for the Xenomorph.”

It’s a requel of sorts like “Halloween,” bridging the first two franchise outings while carving its own path, yet knowing exactly what makes an “Alien” movie tick: In space, nobody can hear you scream, but Alvarez understands all too well how to make you squirm.

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‘blink twice’ review: channing tatum and naomi ackie in zoë kravitz’s skillful but scattered #metoo thriller.

A tech mogul invites a waitress and her friend to vacation on a private island in the directorial debut, also starring Adria Arjona, Alia Shawkat, Simon Rex and Haley Joel Osment.

By Lovia Gyarkye

Lovia Gyarkye

Arts & Culture Critic

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Channing tatum says he "didn't really know" zoë kravitz before she sent him 'blink twice' script, with an assist from riley keough, zoë kravitz thanks channing tatum for "trusting me to female direct you" at 'blink twice' premiere, blink twice.

It’s lucky, then, that the next evening, while working as a waitress at a fundraising event, Frida comes face to face with Slater. Their encounter is clumsy but electric — a meet-cute fit for a romantic comedy. She trips on the hem of her dress; he helps her up and holds her gaze. Later that night, as the party thins, Slater asks Frida to fly with him and his crew to his private island. She eagerly accepts the invitation and conscripts her best friend and roommate Jess (Alia Shawkat) to come along. 

If Triangle of Sadness , Glass Onion and The Menu have taught us anything, it’s that a group of strangers in a secluded locale spells trouble. Kravitz, who co-wrote the screenplay with E.T. Feigenbaum, quickly establishes Blink Twice as both social satire satire and horror, yet balancing the two proves to be more challenging as the narrative revs up.

Unlike recent eat-the-rich offerings, Blink Twice is only partially about ultra-wealthy bacchanalia. Soon after they arrive, Frida notices strange occurrences on the island. A maid (María Elena Olivares) repeats odd phrases to her; Jess disappears, and Frida realizes her memories are an increasingly patchy assemblage of images. Why can’t she recall the origin of random bruises or the dirt under her fingernails? A similar thing seems to be happening to other women on the island, including Sarah ( Hit Man ‘s Adria Arjona, excellent), a former contestant on a Survivor -like reality show with whom Frida competes for Slater’s attention. 

Kravitz is primarily interested in sexual violence against women and the psychic toll of trauma. Her film echoes Emerald Fennell’s Promising Young Woman , except Kravitz delivers on gore. Vengeance here is, thrillingly, more than an abstraction. There’s also a drifting effort to investigate the simultaneous invisibility and hyper-visibility of Black women, especially early in the film when Frida is at work, but that is disappointingly subsumed by later action. 

There are a few moments when Blink Twice ’s busy narrative —  stuffed with twists and turns as it trails Frida’s gripping quest for survival — and its slippery visual language coalesce to realize Kravitz’s ambitions. But Blink Twice is ultimately too scattered, stretched thin by the demands of its weighted themes, conspicuous imagery, half-baked plot points and partially realized characters. 

If Blink Twice succeeds to the extent that it does, that’s largely thanks to a handful of striking performances. Tatum delivers a sturdy turn in a role that requires him to find subtler ways to wield his charm. But it’s Ackie and Arjona who really focus and energize the film. Ackie, who played Whitney Houston in Kasi Lemmons’ 2022 biopic , is a force, offering a powerful portrayal of a woman collapsing under the weight of her trauma. Her performance is raw and vulnerable, extending an invitation to understand the depths of Frida’s character despite the thin sketch.

Alongside Arjona, Ackie also builds a portrait of strength. The relationship between Frida and Sarah models and tests familiar dynamics between women, from petty jealousies to empowering alliances. It’s a credit to Ackie and Arjona that Frida and Sarah’s reactions to the reality of their ordeal register as genuine. Their curdling screams chill spines, their tears stir. The two actors don’t just explore the rage fueling Blink Twice ; they tap into it.

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